Saksofon u orkestralnim partiturama istaknutih europskih skladatelja prve polovice 20. stoljeća

master's thesis

• Author: Krešimir Kottek
• Mentor: Tomislav Žužak (mentor)
• Granter: University of Zagreb; Academy of Music; (Wind Instruments Department); Zagreb
• Defense date and country: 2018-06-26, Croatia
• Scientific / art field, discipline and subdiscipline: FIELD OF ART; Art of Music; Reproductive Music (Conducting, Singing, Playing an Instrument)

Abstract

Ovaj diplomski rad sagledava problematiku percepcije saksofona kao orkestralnog instrumenta. Cilj je približiti kolegama izvođačima (studentima) i skladateljima uvid u orkestralni repertoar uz detaljniju analizu nekoliko saksofonskih sola iz partitura istaknutih skladatelja prve polovice 20. stoljeća. Veća pažnja posvećena je djelima Bartoka, Milhauda, Šostakoviča, Berga i Rahmanjinova, čiji se notni zapisi i analize nalaze u trećem poglavlju rada. Izdvojena sola razlikuju se po stilu, glazbenoj vrsti (balet, opera, simfonijsko djelo) i koriste različite članove porodice saksofona (sopran, alt, tenor, bariton). Iz analize su namjerno izostavljene vjerojatno najpoznatije dionice tog vremena: Ravelov Bolero (i Slike s izložbe) te Gershwinova Rapsodija u plavom; kao i Debussyeva Rapsodija, koju je detaljno obradio kolega Lovro Livajić u svom diplomskom radu. Glavno postavljeno pitanje je kako su skladatelji tretirali saksofon te zašto ga jesu (ili nisu) koristili. Moramo se upitati i koliko je saksofon prisutan u kompozicijama za orkestar hrvatskih skladatelja. U dodacima se nalazi cijeli popis velikog broja saksofonističkih orkestarskih sola iz knjige The Orchestral Saxophonist, Brucea Ronkina i Roberta Frascottia, kao i popis nekih skladbi hrvatskih autora. KLJUČNE RIJEČI: • Saksofon

Abstract (english)

This graduate thesis analyzes problem of perceiving saxophone as an orchestral instrument. The main goal is to offer our colleague performers (students) and composers a closer look into orchestral repertoar, as well as analyses of a few saxophone solos from scores composed by eminent composers of the first half of 20th century. Greater accent was made to Bartok's, Milhaud's, Shostakovich's, Berg's and Rachmaninoff's compositions, whose notation examples and analyses are presented in Chapter three. Referred solos differ each other by style, type (ballet, opera, symphony) and instruments which are used (soprano, alto, tenor, bariton). Probably the most recognizable parts of this period, Ravel's Bolero (and Pictures at an Exhibition) were deliberately taken out of this thesis, as well as Debussy's Rhapsodie, due to Lovro Livajić's graduate thesis on this theme. The main intention of the thesis was to gain a deeper understanding how the composers of that period of time had treated saxophone, and why they did (or did not) use it in orchestration. Also, the question is, whether saxophone is present in Croatian orchestral music. Additionaly, it has been listed a great number of orchestral compositions with saxophone part from the book The Orchestral Saxophonist by Bruce Ronkin and Robert Frascotti. KEY WORDS: • Saxophone

• Keywords: Saksofon; orkestar; partiture; sola
• Keywords (english): Saxophone; Orchestra; Scores; Solos
• Language: croatian
• URN:NBN: urn:nbn:hr:116:269882
• Study programme: Title: Integrated Undegraduate and Graduate University Study Programme for Instrumentalists; specializations in: Flute, Oboe, Clarinet, Saxophone, Bassoon, Horn, Trumpet, Trombone, Tuba, Percussion, Harp, Violin, Viola, Violoncello, Double Bass, Guitar, Piano, Organ; Course: Saxophone; Study programme type: university; Study level: integrated undergraduate and graduate; Academic / professional title: magistar/magistra muzike (magistar/magistra muzike)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Open access
• Created on: 2018-10-18 11:53:24